This new play by Drew Pautz raises a number of big issues: clerical schism, marital hypocrisy, patronising attitudes to the developing world. But while Pautz's play is entertaining and well acted, it is also muddled, substituting rhetorical gesture for real argument.

Pautz's target is public and private evasiveness. He starts with a gang of wrangling Anglicans, at an African conference, failing to come up with a clear line on gay clergy. He then shows Michael, a lay volunteer, bullied by an evangelical porter, Joseph, with whom he has just had sex, into easing the latter's passage to England. We then switch to Michael's problems with his wife, who is desperate to have a baby in spite of her husband's moral and religious doubts about IVF. These issues come to a head when Joseph, inevitably, turns up in England and exposes Michael's equivocations and the riven Anglicans.

The parallel between a dishonest marriage and a divided church is forced, however. The domestic issue is capable of resolution, but the public problem is a source of debate. Pautz's arguments are undermined by his portrayal of character. He attacks the Anglican church for its inability to deal with illegal asylum-seekers such as Joseph, yet Joseph is as much exploiter as victim, and the leading cleric, seemingly modelled on the Archbishop of Canterbury, strikes me as a figure of compromising common sense.

Even if Pautz's case is unproven, Matthew Dunster's production has a surface liveliness. Jonathan Cullen sweats persuasively as the bisexual Michael, Fiston Barek impresses as Joseph, and there is excellent work from Ian Redford as the top churchman and Scott Handy as his smooth PR man. Refreshing as it is to find religious issues getting a theatrical airing, I wish the play had some of the intellectual sinew of Racing Demon.